Polyptych of the Misericordia

Yispolyptych encapsulates the stark simplicity and geometrical exactitude for which Piero della Francesca is most known. The form of the Madonna is almost perfectly symmetrical and is in itself formed of a series of geometrical shapes: her head is a perfect oval, her neck is cylindrical, and the folds of her robes are comprised of triangular forms and parallel lines. The gold background, a specific request of the confraternity, forced Piero to abandon the landscaped backgrounds, of which he was so fond. In a response to this restriction, Piero created space with the figures themselves. For example, the Madonna's curved robes echo an apse, an architecturally significant part of church designs, and Piero foreshortened the feet of the four saints on either side of her, suggesting that they are standing in a physical space instead of the featureless gold field. The use of limited colors as well as simple geometrical shapes give the polyptych an almost modern sense of "unreality" that prompts solemn contemplation on the part of the spectator.

Commissioned in 1445 by a Catholic confraternity, this polyptych was one of Piero della Francesco's earliest commissions. Given its large size, the polyptych was probably intended to be used as an altarpiece.

At the center of the polyptych is the Madonna della Misericordia (Madonna of Mercy), to which the commissioning confraternity was dedicated. This iconography of the merciful Madonna sheltering the faithful under her cape was extremely popular in medieval Italy and can be traced back to the 13th century. Often the kneeling figures under her cape would represent the patrons of the work, and in this case members of the confraternity are shown. To her right and left are Sts. Sebastian, John the Baptist, Andrew, and Bernadino. The tympanum above includes Christ's crucifixion in the center flanked by St. Benedict, the angel Gabriel, the Madonna of the Annunciation, and St. Francis. The predella at the bottom of the altarpiece contains scenes from the life of Christ and was painted by assistants.

this painting is oil and egg tempera on panel  and is in the  Museo Civico di Sansepolcro in Sansepolcro, Italy.